You know you are in trouble when the back cover of the DVD boasts that "There'll be a lot of thrillin' before Steel himself can start chillin'."

While playing with the trope he made famous, Wes Craven crafted a lighter, more self-reflective tone for Kevin Williamson’s script to shine a light on everything we love (and everything we think is kind of silly) about slasher movies.

Less neurotic than Woody and more fun than the average Sandra Bullock flick, it's a guy flick disguised as a chick flick.

There is a good story to further the violent adventures of Snake along; this is far from it. There are awesome, in-joke-with-your-friends guilty pleasures, and then there's Escape From L.A..

A harmless and fun dark comedy that you'll enjoy casually watching from time to time.

The film is a beautiful work of art to look at with some scenes that you just want to pull off the screen and have framed on your wall. Its use of color, character designs, and subtle CGI combine to create one of the best-looking traditionally animated films ever made.

If you're able to suspend disbelief, the film's strengths outweigh the many weaknesses. The action sequences are a lot of the fun. The adventure is exciting. And the story perfectly replicates the style and tone of a classic adventure or Saturday matinee serial.

A wonderful slice of pulp alien-invasion sci-fi with a dash of conspiracy thriller tossed in for good measure. It plays as a clever X-Files knockoff and as a funny camp classic all at the same time. Low budget sci-fi pictures like these are rarely this entertaining, or good for that matter.

Chinatown had sex, greed and water, Body Heat had sex, greed and high humidity, while Mulholland Falls has alluded-to sex, hats and cigarettes bundled with radiation sickness and anachronistic pop psychology references. (Palminteri spouts endless Sensitive Guy pabulum that's supposed to be ironic. It's not.) It's a mess and a shame, considering all the talent involved.

The writers are comic geniuses, and the experience is so enjoyable that upon viewing This Island Earth's non-MST3K version, a grin will cross your face as you remember this parody masterpiece.

What's so great about Brain Candy is what's great about every classic comedy: it's thoroughly quotable, infinitely watchable and so rich with detail that you'll be laughing at something new every time you watch it.

It's more oriented to the kiddies than Nightmare, but if you want something to watch with your little cousins or nieces or something that will give you something to enjoy as well as them, and you've already seen Tarzan 28 times, check this one out.

[A] one-note, flat comedy.

An entertaining, if a bit predictable, romantic comedy with a good cast. Expect anything more from it and you'll come away disappointed.

The Mortal Kombat games are all about having fun, and so is the movie, whether it's "good" cinema or not.

Tommy Boy is one of those films that you can watch over and over again. It seems to be on every "Buddy Movie" list and it's always out at Blockbuster.

Zane is an absolute blast, whether doing a little dance or trying to steal his way into each character's soul, he's having too much fun.

It's rarely funny when it's supposed to be, and often unintentionally hilarious when it's not. But to be fair, that's not all de Sauza's fault. Some of the dialogue might have been funny had the punchlines not been botched by Van Damme's awkward accent and flat delivery.

Despite the editing flaws, and the weaker aspects of Branagh's performance and direction, Mary Shelley's Frankenstein is one of the better adaptations of the original, nearly 200-year-old story.

Tombstone is incredibly entertaining. While not entirely original and not always well executed, it manages to keep your attention for the entire 130-minute duration. And let's face it, Val Kilmer as Doc Holliday is what really sets it apart.

It's quite possibly the greatest Batman movie ever.

The classic humor of this film still remains.

Carlito's Way, like Casualties of War and Mission: Impossible, seems to stand at a nexus between commercial fealty and directorial idiosyncrasy; it's a sort of half-breed film that exudes personal vision but functions satisfactorily for the multiplex crowds at the same time.

The script – which revolves around a serial killer and explores the idea of traumas both mental and physical – isn't particularly strong, but the direction is, as always, first-rate.

Based on a true story, the whole thing is a sloppy mess of football wishes and caveat dreams that will forever be remembered, but never watched in just one sitting.

Willis and Parker are fine in their respective roles, but neither character is given much spark. Willis sulks for most of the picture, grimacing at his enemies and drinking his way through scenes.

The movie is frantic in fits and starts, but still remarkably tedious for such a slapstick comedy. It expends an astounding amount of time and energy setting up both its jokes and physical comedy routines, many of which are tired, watered-down iterations of material done better by Sellers.

At the end of the day, the movie works. It's funny, it's charming, it's sweet – all elements that make it a more accessible comedy than Meyers' later work, which is generally aimed to a more specific audience. It's certainly worth rewatching and holds up well to retrospect, and while it might not be the laugh-a-minute spoof that was the original Austin Powers, it's an amusing – and at times hilarious – look back at the beginning of one comedian's superstar career.